2125 STANLEY STREET

2125 STANLEY STREET

performed byDahlia Nayar, Margaret Paek, Loren Kiyoshi Dempster October 20 & 21

2125 Stanley Streetis a performance installation exploring notions of home. Choreographer Dahlia Nayar works with collaborators Margaret Paek (dancer) and Loren Kiyoshi Dempster (cellist/composer), the project examines “home” as an archaeological site where minimal artifacts offer points of departure for the re-imagination and reconstructionof a domestic space. We excavate the everyday and the mundane in search of a poetic consciousness. Household objects transform into potential sources of revelation and reflection. Basic tasks are infused with virtuosity and nostalgia.Fragments of lullabies, phone conversations and intimate multi-generational, multi-lingual exchanges create an evocative soundscape. Ultimately, the installation aims to invite the audience into a home that unfolds through movement and sound, a home that exists in the present moment through intimate exchange, a home that is is both familiar and yet cannot exactly be located.

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Dahlia Nayar

Dahlia Nayar’sworks have recently been selected for the Venice Biennale/Danza Venezia Showcase for Emerging Choreographers, Dance Place in Washington DC, the 2012 Next Stage Dance Residency at the Kelly Strayhorn Theater in Pittsburgh, and the Center for Performance Research in Brooklyn, NY. In addition, her site specific projects have been performed at the National Botanical Gardens, the Kennedy Center and the Complejo Cultural, in Puebla, Mexico. She was
a National Dance Project Regional Dance Lab artist in 2007. From 2008-2010, she received the Jacob Javits Fellowship during which time she received her MFA in Dance/Choreography from Hollins University. She has been a guest artist at Salem State College, College of the Holy Cross, Long Island University in Brooklyn, Marymount Manhattan College, Smith College and Duke University. She is a 2012-2013 Vermont Performance Lab Artist and 2013 Bates Dance Festival New England Emerging Choreographer.

Margaret Paekis a collaborative dance artist who sees choreography as a daring process of multiplicity and framing. Studying, developing, and allying with the performance collective, Lower Left, is a continuing source of stimulation. Margaret is deeply influenced by her relationships with gymnastics, contact improvisation, Ensemble Thinking, Alexander Technique, Nina Martin, Shelley Senter, Barbara Dilley, Deborah Hay, musician/composer Loren Kiyoshi Dempster and their daughter. She has also had the pleasure of working with Mary Overlie, Milka Djordjevich, Keith Hennessy, Lionel Popkin, BodyCartography Project, and projectLIMB, among others. Cooperative and individual work has been presented at venues including: Dixon Place, Issue Project Room, Joyce SoHo, Judson Church, Danspace at St. Mark’s Church, and the Whitney Museum in New York; Sushi Performance & Visual Art, Highways, ODC, and CounterPulse in California; the Crowley Theater and Barnevelder Movement/Arts Complex in Texas; Sín Culture Center in Budapest, Hungary. Dance critic, Jennifer de Poyen, has called her “a dancer so full of wit and intelligence, you can’t keep your eyes off her.” (San Diego Union Tribune, 2002)

Loren Kiyoshi Dempster

Loren Kiyoshi Dempster(composer) uses a combination of computer, electronics, cello and extended techniques to create and perform music. An active chamber musician, composer, and improviser he performs with the Dan Joseph Ensemble, Trio Triticali, and Left Hand Path among many others. Ever interested in the relationship of movement and sound, he has recently performed for choreographers Jonah Bokaer, Chris Ferris, Margaret Paek, and projectLIMB. Dempster toured often with Merce Cunningham Dance Company playing music for many pieces starting in April 1999 until December 2011. His performances for Interscape, which uses John Cage’s solo cello work “one eight” were described by the New York Times (04/01), “Dempster’s playing was outstanding, suggesting a one-man orchestra through texture that produced overlapping sounds that ranged from the jagged to a warm warbling.”